- CD de audio (23 de enero de 2013)
- Número de discos: 2
- Formato: Audiolibro, CD
- Sello: Ecm New Series
- ASIN: B002FEUOA0
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
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J.S. Bach: The Six Partitas Audiolibro, CD
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Descripción del producto
Descripción del producto
Registrazione dal vivo - András Schiff è oggi considerato uno degli interpreti più ricchi di risorse nel repertorio bachiano sul pianoforte moderno. La nuova registrazione live delle Partite - che il pianista ha voluto proporre in una sequenza secondo le tonalità (nn.5-3-1-2-4-6) - combina profondità intellettuale e tecnica impeccabile.
Lista de canciones:
1. Partita V in G major, BWV 829 - Praeambulum
5. Tempo di Minuetta
8. Partita III in a minor, BWV 827 - Fantasia
15. Partita I in B-flat major, BWV 825 - Praeludium
19. Menuet I
20. Menuet II
22. Partita II in c minor, BWV 826 - Sinfonia
1. Partita IV in D major, BWV 828 - Ouverture
8. Partita VI in e minor, BWV 830 - Toccata
13. Tempo di Gavotta
Detalles del producto
Listas de canciones
Opiniones de clientes
Principales opiniones de clientes
András Schiff (piano) grabó 'en vivo' en 2007 en la Historischer Reitstadel, Neumarkt de acústica cálida e íntima esta pareja de CDs (72:14 + 60:50) con las seis Partitas de JS Bach. Previamente (25 años antes), había grabado estas obras para Decca, impresionantes por su acabado técnico, su claridad contrapuntística y la claridad de la textura polifónica, su uso magistral del pedal, su uso moderado del rubato, su imaginación, su exaltación espiritual y su amor por esta música. Todo ésto sigue vigente aquí aunque le añade ese toque de espontaneidad del 'vivo', esa sensación de estar escuchando un soliloquio íntimo aunque puede llegar a ser titánico en las gigas; además, las reordena, no por numeración, sino por claves descendentes comenzando por la quinta partita. El sonido es cercano y cálido sin llegar a ser clínico.
Si quiere otras versiones recientes en sonido espléndido, poco hay mejor que la versión en clave de Trevor Pinnock/Hänssler (ASIN: B00004S3CP) y, en piano, la de Bahrami/Decca (ASIN: B000SQRSM4) o la de Igor Levit/Sony (ASIN: B00KI6RUKY).Leer más ›
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The notes state that this is a live recording, but you would never know it. It's note-perfect and there's not a peep from the audience. It's like stumbling upon a splendid acoustic space where a master pianist is playing for no-one but himself.
these live performances are vigorous, alert, sharply contrasted, and clearly voiced (there is no hint of pedal). schiff's arrangement of the partitas to form a complete program or "suite of suites" is welcome and convincing.
all that said, there is something about schiff's first traversal of the partitas, back in the 80's on london records, that is to me more unaffected, more alluring and, in effect, more humble. i do not really enjoy the aspect of modern pianism (native to the competitive, faddish and precarious environment of professional musicianship) which is expressed as a style of playing that amounts to "look at how i can play the hell out of this music!" there is a point where articulation, precision, contrast, ornamentation and clarity become ends in themselves, and to my ear there is plenty of that on display in this recital.
on repeated listening i wearied of schiff's excessive use of a very crisp, somewhat loud, staccato or martello articulation (is this supposed to mimic a harpsichord?) in all except the slowest movements, his tendency to blur or ignore the tempo of ornamented textures or the concluding half of repeated sections (try tapping along the beat of the g major corrente or a minor gigue), his odd use of breathing pauses and abrupt dynamic changes to break the flow of brisk movements, and his preference to give both or all voices in two or three part textures an equal dynamic weight but contrasting affect (legato over staccato, contrasting ornamentation, etc.) as a kind of audible finger juggling stunt. (these are production mannerisms innovated by glenn gould, although schiff does not push them to the same extreme.)
bach is already complex and profound enough: that is the assumption on which all interpretations should be framed. no secret sauce is required or appreciated. bach, not the pianist's stylizations or the pianist's fingers, should always be the focus of attention. on that account, i prefer schiff's immaculate first recording, and rank this mature recital, splendid as it is, second to the simplicity and sincerity of his youthful account.
Some simply bored me stiff.
Andras Schiff's Partitas, however, virtually fly out from the keyboard. So rhythmic, so lively, so crystal clear, and accoustically so outstanding.
I've heard these works played (though not necessarily in full set) by many other Bach specialists. I don't think Andras Schiff counts himself as one such, but without a single doubt, his reprise on ECM on this set of Bach Partitas rightfully sets him up as one of the most eminent Bach specialists of all times. His is the right temperament, fully nuanced, brilliantly articulated, and with full alertness to style and content.
We do not need any 'period' instrument to high light the style in the case of such eminent interpretation. (I guess Schiff played them on a Borsendorfer).
Well, if Schiff had earlier releases of Bach, his recent reprises certainly call for full attention from the musical world - they are nothing less than greatness itself!
'Partitas' simply means pieces for a solo instrument and by that definition there are no hard and fast rules about how they should be constructed (partitas gave way to the more 'academically correct' sonata, works again for solo instrument but that follow a constructed scheme of composition). Schiff's approach is one of respect of the many lines of invention that weave through the embellished core theme: his way with ornamentation is so assured and accurately executed that they truly to embroider the melodic lines and counter lines. How he is able to hold our attention through all six of these impossible difficult works is nothing short of amazing: the fact that they were recording during one performance almost defies credibility.
In a time when contemporary composers are gallantly pushing all the borders of classical music to expand our concept of music in strange and wonderful new realms, it is refreshing to return to the crystalline clarity of Bach's music as an infusion of the basics in tonality, and who to better remind us of how magnificent these works are than András Schiff! This is a 'classic' performance that will surely remain a gold standard for many years. Grady Harp, July 10